With a feature film you're dealing with so much more money and you've got to be very aware of the fact that you're really working with an audience. You've got to have a relationship with the audience. Play with them and show them things you want them to see.

I might revisit - I like the idea of doing something else with [Hunt for the Wilderpeople characters]. But also I get bored of doing the same thing again. I just get bored.

I'm really not trying to do everything that comes to mind because that's when it can be dangerous. For instance, I believe as much as possible, how your camera moves and flies around should be limited to the physics of how you could do it in real life.

I like to find comedy or something interesting to look at with whatever I'm working on.

If you're tracking with a character that's running off a thing and diving off, I would leave the camera there and not follow them down, because cameras don't do that. The audience understands that. I'll definitely bring that understanding of keeping things a bit more grounded.

There were definitely Nazis who saw the error of their ways.

I never wanted to be a filmmaker. I still, sometimes, think I got sidetracked by this, like this is a tangent. My main thing was painting; I was just going to do that.